Chapter 3: Analyzing the Communication Process PDF

Because learning changes everything. ® CHAPTER 3 Analyzing the Communication Process © McGraw Hill LLC. All rights reserved. No reproduction or distribution without the prior written consent of McGraw Hill LLC....

Because learning changes everything. ® CHAPTER 3 Analyzing the Communication Process © McGraw Hill LLC. All rights reserved. No reproduction or distribution without the prior written consent of McGraw Hill LLC.  The Nature of Communication Communication Passing of information. Exchange of ideas. Process of establishing a commonness of thought between sender and receiver. Success depends on many factors. Nature of message, audience’s interpretation, environment, receiver’s perception of source and medium used to transmit message, etc. Language is a major barrier to effective communication. Challenging for companies marketing their products abroad. © McGraw Hill 2  Exhibit 5-1 This ad from the California Milk Processor Board is directly targeted to appeal to multicultural, millennial parents. This “got milk” campaign uses Spanish language ads to appeal to the market. © McGraw Hill Source: Rachel Murray/Getty Images 3  Figure 5-1 A Model of the Communication Process Access the text alternative for slide images. © McGraw Hill 4  Basic Model of Communication 1 Source Encoding Source: Person or organization that has information to share with another person or group of people. Encoding: Tennis star Naomi Osaka is a source in this ad for Citizen watches who reflects the Putting thoughts, “Better Start Now” brand statement. ideas, or information into symbolic form. © McGraw Hill Source: Citizen 5  Basic Model of Communication 2 Message Contains information or meaning the source hopes to convey. Verbal, nonverbal, oral, written, or symbolic. Marketers must determine content, structure, and design. This Coach ad uses only a picture of Megan Thee Stallion to deliver its message of joy and optimism found in a new generation. The image projected by an ad often communicates more than words. © McGraw Hill Source: Coach 6  Basic Model of Communication 3 Channel Method by which communication travels between sender and receiver. Nonpersonal channel or mass media. Lacks direct, interpersonal contact between sender and receiver. Includes print and broadcast. Internet both personal and nonpersonal form of communication. © McGraw Hill 7  Basic Model of Communication 4 Channel continued Personal channels or direct communication between two or more persons. Word-of-mouth (WOM): Informal communication among consumers about products and services or other methods such as social media. WOM conversations. Electronic WOM. Online reviews. Engineered WOM. Buzz marketing: Generating positive word-of-mouth discussion. © McGraw Hill 8  Basic Model of Communication 5 Channel continued Viral marketing: Propagating marketing-relevant messages with the help of individual consumers. Factors affecting success: Message characteristics. Individual sender or receiver characteristics. Social network characteristics. Seeding: Identifying and choosing initial group of consumers who will start spreading the message. © McGraw Hill 9  Figure 5-2 Motivations for Social Sharing of Videos Motivation Description Opinion Seeking I want to see what my friends think Shared Passion It lets me connect with my friends about a shared interest Conversation Starting I want to start an online conversation Social Utility This could be useful to my friends Self-Expression It says something about me Social in Real Life It will help me socialize with my friends offline Social Good It’s for a good cause and I want to help Zeitgeist It’s about a current trend or event Kudos: Authority I want to demonstrate my knowledge Kudos: Cool Hunting I want to be the first to tell my friends Source: Adapted from “Why Some Videos Go Viral” from Harvard Business Review, September 2015. https://hbr.org/2015/09/ why-some-videos-go-viral. © McGraw Hill 10  Basic Model of Communication 6 Channel continued Influencer marketing: Uses social media to leverage the influence of individuals with a dedicated social media following. Social media influencers Popular social media personalities. Constantly create and disseminate useful, organic content. Project authentic personae. Curate intimate relationships with a large following. Wield influence over the purchasing decision. © McGraw Hill 11  Exhibit 5-5 Open Influence specializes in influencer marketing. They collaborate with influencers on content creation to assist in the development of campaigns. © McGraw Hill Source: Open Influence Inc. 12  Basic Model of Communication 7 Channel continued Integrating word of mouth with IMC. Consumers ascribe high credibility to information from others. Pass-along benefits from consumers talking favorably about a brand. Marketers must develop creative advertisements and communication that trigger conversations and are worthy of sharing. Word of Mouth Marketing Association sets rules and guidelines for marketers. Federal Trade Commission requires anyone endorsing a product or service through social media to disclose if they have a relationship with company or brand. © McGraw Hill 13  Basic Model of Communication 8 Receiver/Decoding Receiver: Person with whom sender shares thoughts or information. Decoding: Transforming sender’s message into thought. Heavily influenced by receiver’s field of experience: Experiences, perceptions, attitudes, and values a person brings to the communication situation. Effective communication requires you to establish common ground. Marketers and advertisers often have different fields of experience than the consumers they are trying to reach. People differ in location, education level, social status, age, etc. Ageism is a major problem in the industry. © McGraw Hill 14  Exhibit 5-6 This ad for Pew Environmental Group’s campaign for America’s Wilderness uses the concept of common ground between Republicans and Democrats. © McGraw Hill Source: Ken Stinnett Photography 15  Basic Model of Communication 9 Noise Unplanned distortion in the communication process. Errors in the encoding process. Distortion in a radio or tv signal. Fields of experience of sender and receiver don’t overlap. Response/Feedback Response: Receiver’s set of reactions after seeing, hearing, or reading the message. Feedback: Receiver’s response that is communicated back to the sender. © McGraw Hill 16  Source Factors 1 Sources Person involved in communicating a marketing message. Direct source: Delivers message and/or endorses product or service. Indirect source: Draws attention to and enhances appearance of ad. © McGraw Hill 17  Source Factors 2 Source Credibility Credibility: Expertise: Recipient sees source as having relevant knowledge, skill, or experience. Trustworthiness: Recipient trusts source to give unbiased, objective information. Internalization: Adopting the opinion of a credible communicator and believing information from that source is accurate. May become internalized into receiver’s belief system. © McGraw Hill 18  Figure 6-2 Source Attributes and Receiver Processing Modes Access the text alternative for slide images. © McGraw Hill 19  Source Factors 3 Source Credibility continued Enhanced by: Applying expertise. Applying trustworthiness. Using corporate leaders as spokespeople. In this ad, Dove promotes the fact that it is recommended by experts in skin care. © McGraw Hill Source: Dove by Unilever. 20  Exhibit 6-3 James Dyson is considered one of the most effective CEO spokespersons. © McGraw Hill Source: Dyson, Inc. 21  Source Factors 4 Source Credibility continued Limitations of credible sources: High- and low-credibility sources are equally effective when arguing for a position opposing their own best interest. Sleeper effect: Persuasiveness of a message increases with passage of time. © McGraw Hill 22  Source Factors 5 Source Attractiveness Attractiveness: Characteristic that encompasses similarity, familiarity, and likability. Identification: Receiver is motivated to seek some type of relationship with a source. Adopts similar beliefs, attitudes, preferences, or behavior. If source changes position, receiver might also change. © McGraw Hill 23  Source Factors 6 Source Attractiveness continued Source characteristics: Applying similarity. Communicator and receiver with similar needs, goals, interests, and lifestyles. Consumer feels empathy for person in commercial. Using everyday people that customers can easily identify with. Applying likability: Using celebrities. Movie stars, athletes, musicians, public figures. Stopping power: Draw attention in cluttered media environment. Enhance customer’s view of product or service image or performance. © McGraw Hill 24  Exhibit 6-5 Most golf equipment manufacturers have endorsement deals with professional golfers, such as shown in this ad for Srixon’s Z Star Series golf ball featuring pro golfer, Hideki Matsuyama. © McGraw Hill Source: SRI Sports Limited 25  Source Factors 7 Source Attractiveness continued Limitations of using celebrities: Overshadowing the product. Overexposure. Target audiences’ receptivity. Risk to the advertiser. Return on investment must be Under Armour recently collaborated considered. with Dwayne Johnson to create a new product line called “Outlaw Mana” which features a full line of clothing and shoes for both men and women. © McGraw Hill Source: Under Armour, Inc. 26  Source Factors 8 Source Attractiveness continued Understanding the meaning of celebrity endorsers. Perspective on celebrity endorsement developed by Grant McCracken. Celebrities’ effectiveness as endorsers depends on culturally acquired meanings they bring to endorsement. A celebrity brings their meaning and image into ad and transfers them to the product. The meanings a celebrity gives to the product are transferred to the consumer. Advertising industry refers to the cultural meaning that a celebrity spokesperson brings as “borrowed equity.” © McGraw Hill 27  Figure 6-3 Meaning Movement and the Endorsement Process Access the text alternative for slide images. © McGraw Hill 28  Choosing a Celebrity Endorser 1 Celebrity Factors Match with audience and product/brand. Overall image. Cost. Trustworthiness. Risk of controversy. Familiarity and likability. Choice between celebrity or social media influencer. Companies use Q-scores and other research methods. © McGraw Hill 29  Choosing a Celebrity Endorser 2 Applying Likability Decorative Models Draw attention to ads with physically attractive people. Passive/decorative models rather than active communicators. Some products (for example, cosmetics) benefit since physical appearance is relevant. Might not draw attention to product or message. Highly attractive models can have negative impact. Some companies undermine traditional approach to beauty care: you’re beautiful just the way you are. © McGraw Hill 30  Exhibit 6-10 Dove takes a social advocacy approach in promoting its beauty products. Since 2004, Dove has run the “Campaign for Real Beauty” which is designed to appeal to everyday women and offer a broader, healthier, and more democratic view of beauty. © McGraw Hill Source: Unilever 31  Choosing a Celebrity Endorser 3 Source Power When a source can administer rewards and punishments to a receiver. Depends on source’s perceived control, perceived concern, and perceived scrutiny. Compliance: To obtain favorable reaction or avoid punishment. Receiver accepts the source’s persuasive influence and acquiesces to source’s position. Difficult to apply in advertising; more likely in personal communication. © McGraw Hill 32  Message Factors 1 Message Structure Order of presentation: Strongest arguments presented early or late in message but not in the middle. Primacy effect: Information presented first is most effective. Recency effect: Arguments presented last are most persuasive. Where to place depends on: Target audience’s receptivity to message. Length of message. Medium used to communicate message. © McGraw Hill 33  Figure 6-4 Ad Message Recall as a Function of Order of Presentation © McGraw Hill 34  Message Factors 2 Message Structure continued Conclusion drawing: Messages should either explicitly draw a firm conclusion or allow receivers to draw their own conclusions. Messages with explicit conclusions are more easily understood and effective in influencing attitudes. Depends on: Target audience. Type of issue or topic. Nature of the situation. © McGraw Hill 35  Message Factors 3 Message Structure continued Message sidedness: One-sided message: Mentions only positive attributes or benefits, effective when target audience: Already holds a favorable opinion about the topic. Is less educated. Two-sided message: Presents both good and bad points, effective when target audience: Holds an opposing opinion. Is highly educated. © McGraw Hill 36  Exhibit 6-13 Volkswagen used a two-sided advertising message that acknowledges the diesel scandal as part of an ad campaign for electric vehicles. © McGraw Hill Source: Volkswagen of America, Inc. 37  Message Factors 4 Message Structure continued Refutation: Refutational appeal: Communicator presents both sides of issue and then refutes opposing viewpoint. A refutational appeal was used by SeaWorld to defend itself against criticism by PETA and other animal activist groups. Access the text alternative for slide images. © McGraw Hill Source: SeaWorld 38  Message Factors 5 Message Structure continued Verbal versus visual messages: Pictures commonly used to convey information or reinforce copy or message claims. This ad for Arrowhead Mountain Spring Water uses a beautiful visual image of the mountains to communicate the key product attribute of purity. © McGraw Hill Source: Arrowhead by Nestle Waters North America 39  Message Factors 6 Message Appeals Comparative advertising: Directly or indirectly naming competitors in an ad and comparing one or more attributes. BodyArmor uses comparative advertising to challenge Gatorade in the sports drink market. © McGraw Hill Source: BA Sports Nutrition, LLC 40  Message Factors 7 Message Appeals Comparative advertising: continued So common, their attention-getting value has declined. Consider how comparative messages affect credibility. Often used to: Position new brands against market leaders. Differentiate high-profile brands in a competitive marketplace. Show candidate differences in political advertising. © McGraw Hill 41  Message Factors 8 Message Appeals continued Fear appeals: Evoke emotional response to a threat and arouse individuals to take steps to remove threat. Stress physical danger. Threaten disapproval or social rejection. Used to discourage unsafe behaviors. The Ad Council uses a fear appeal to discourage buzzed driving. © McGraw Hill Source: National Highway Traffic Safety Administration and Ad Council 42  Message Factors 9 Message Appeals continued How fear operates: Curvilinear: Message acceptance increases as amount of fear used rises—but only to a point. Has both facilitating and inhibiting effects. Protection motivation model: Four cognitive appraisal processes mediate the individual’s response to the threat. Fear appeals are more effective when recipient is: Self-confident and prefers to cope with dangers. A nonuser. Monotonic and positive: Higher levels of fear result in greater persuasion. © McGraw Hill 43  Figure 6-5 Relationship between Fear Levels and Message Acceptance Access the text alternative for slide images. © McGraw Hill 44  Message Factors 10 Message Appeals continued Humor appeals: Often best known and best remembered. Humor used for many reasons: Attract and hold consumers’ attention. Put consumers in a positive mood. Distract consumer from counterarguing against the message. © McGraw Hill 45  Message Factors 11 Message Appeals continued Humor appeals: continued Distract from brand and its attributes. Difficult to produce and may be too subtle. May experience wearout: Tendency to lose effectiveness when seen or heard repeatedly. Counter by creating “pool-outs.” © McGraw Hill 46  Message Factors 12 Message Appeals continued Humor appeals: continued Must consider type of product or service and audience characteristics. More effective when involvement is relatively low. This Volkswagen ad shows how humor can be used effectively in a print message as the porcupine is precisely parked to avoid popping the goldfish bags. © McGraw Hill Source: Volkswagen of America, Inc. 47  Channel Factors 1 Personal versus Nonpersonal Channels Information received from personal channels is more persuasive than from mass media. Effects of Alternative Mass Media Differences in information processing: Self-paced—readers process ads at their own rate and study them as long as they desire. Newspapers, magazines, direct mail, and Internet. Externally paced—transmission rate is controlled by the medium. Radio and television. © McGraw Hill 48  Channel Factors 2 Effects of Context and Environment Qualitative media effect: Influence medium has on message. Media vehicle can affect reactions to a message. Travel + Leisure magazine creates an excellent reception environment for travel-related ads. © McGraw Hill Source: Dotdash Meredith 49  Channel Factors 3 Clutter Amount of advertising in a medium. TV: All the nonprogram material that appears in broadcast environment. Major concern among television advertisers. Difficult for commercials to attract and hold viewers’ attention and to communicate effectively. Overload theory used to explain why clutter reduces advertising effectiveness. When an individual is overloaded with too many ads at one time, the absorption of one ad will be at the expense of another. © McGraw Hill 50  Channel Factors 4 Clutter continued Advertising disengagement Lack of excitement, interest, attention, or involvement intended to be aroused by an advertisement or advertising campaign. May have negative impact on brand relationships, commitment, brand loyalty, message recall and effectiveness, and consumer attitudes toward an ad. Trend toward shorter commercials. Several major networks announced they were also reducing the number of commercials during prime time. © McGraw Hill 51  Channel Factors 5 Clutter continued Clutter in online advertising The online environment “audience” is known as “users.” Users have to pay attention to the computer. Both a captive medium and a self-paced medium. Can result in ad avoidance and disengagement. © McGraw Hill 52  The Importance of Creativity in Advertising Creative Ads Good creative strategy and execution are central to determining success of product or service. Do not always increase sales. May not revive a declining brand. Many in industry are ambivalent toward advertising awards. © McGraw Hill 53  Advertising Creativity 1 Different Perspectives on Advertising Creativity Managers perspective: Advertising is creative only if it sells the product. Ads are promotional tools used to communicate favorable impressions to the marketplace. Risk-averse and want more conservative ads. Creatives perspective: Ad creativity in its artistic value and originality. Ads are communication vehicles for promoting their own aesthetic viewpoints and personal career objectives. Maximize impact of message. © McGraw Hill 54  Advertising Creativity 2 Determinants of Creativity Advertising creativity: Ability to generate fresh, unique, and appropriate ideas that can be used as solutions to communication problems. Two central determinants: Divergence. Relevance. © McGraw Hill 55  Exhibit 8-3 This ad for Allstate is part of the “Mayhem” campaign which has high fluency. The campaign has run since 2010 and features scores of ads showing a villainous character wreaking havoc on vehicles and property. © McGraw Hill Source: The Allstate Corporation 56  Advertising Creativity 3 Determinants of Creativity continued Divergence: Extent to which ad contains elements that are novel, different, or unusual. Achieved through: Originality. Flexibility. Elaboration. Synthesis. Artistic value. This ad for KFC Hot and Spicy chicken uses divergence based on originality and artistic value. © McGraw Hill Source: KFC Corporation 57  Advertising Creativity 4 Determinants of Creativity continued Relevance: Degree to which elements of ad are meaningful, useful, or valuable to consumer. Achieved through: Ad-to-consumer relevance—Ad contains execution elements that are meaningful to consumers. Brand-to-consumer relevance—Advertised brand of product or service is of personal interest to consumers. © McGraw Hill 58  Advertising Creativity 5 Determinants of Creativity continued Studies of advertising creativity have shown that it: Impacts consumers’ responses across various stages of response hierarchy. Draws more attention to advertised brand, higher levels of recall, greater motivation to process the information, and deeper levels of processing. Positively impacts emotional reactions including attitudes and purchase intentions. © McGraw Hill 59  Figure 8-1 Impact of Combinations of Creative Elements on Sales % Relative Effectiveness What Creativity (Sales Uplift of Pairing Combinations Work Best? Relative to Average Effectiveness) Originality + Elaboration More effective +96 Originality + Artistic value +89 Elaboration + Artistic value +28 Originality + Synthesis +1 Originality + Flexibility −1 Synthesis + Elaboration −5 Flexibility + Synthesis −20 Synthesis + Artistic value −29 Flexibility + Elaboration −59 Flexibility + Artistic value Less effective −99 © McGraw Hill 60  Planning Creative Strategy 1 The Creative Challenge Must transform advertising message into engaging and memorable ad. Every marketing situation is different, and each campaign or advertisement requires a different creative approach. © McGraw Hill 61  Planning Creative Strategy 2 Taking Creative Risks Essential for creating breakthrough advertisements that get noticed. Agency clients must be open to new ideas. Nike’s willingness to allow their ad agency, Wieden+Kennedy, to take creative risks has paid off in powerful and effective advertisements like this one featuring tennis champion, Serena Williams on her retirement. © McGraw Hill Source: NIKE Inc. 62  Planning Creative Strategy 3 The Perpetual Debate: Creative versus Hard-Sell Advertising “Suits” or “rationalists”: Advertising must sell the product or service. The more selling points in the ad, the better chance of purchase. “Poets”: Advertising must build an emotional bond between consumers and brands or companies. Consumers want to be entertained and inspired. © McGraw Hill 63  Planning Creative Strategy 4 Creative Personnel Often have a background in nonbusiness areas. Tend to be more abstract and less structured, organized, or conventional. Everyone involved in IMC must seek creative solutions. The client relationship should not inhibit the creative process. © McGraw Hill 64  The Creative Process 1 Young’s Model of the Creative Process Immersion: Gathering raw material and data; immersing oneself in the problem. Digestion: Analyzing the information. Incubation: Letting subconscious do the work. Illumination: Birth of an idea. Reality or verification: Studying the idea and reshaping it for practical usefulness. © McGraw Hill 65  The Creative Process 2 Wallas’s Model of the Creative Process Preparation: Gathering background information needed to solve problem through research and study. Incubation: Letting ideas develop. Illumination: Finding the solution. Verification: Refining idea and analyzing whether it is an appropriate solution. © McGraw Hill 66  The Creative Process 3 Account Planning Conducting research and gathering relevant information about the client’s: Product/service and brand. Consumers in target audience. Account planners: Provide decision makers with information required to make an intelligent decision. Responsible for research conducted during the creative strategy development process. Drive the process from the customers’ point of view. © McGraw Hill 67  The Creative Process 4 Inputs to the Creative Process: Preparation, Incubation, Illumination Background research. Fact-finding techniques: Read everything related to the product or market. Ask everyone involved with the product for information. Listen to what people are talking about, particularly the client. Use the product or service and become familiar with it. Learn about client’s business. © McGraw Hill 68  The Creative Process 5 Inputs to the Creative Process: Preparation, Incubation, Illumination continued Background research. continued General preplanning input: Gather and organize information on product, market, and competition. Analyze trends, developments, and happenings in the marketplace. © McGraw Hill 69  The Creative Process 6 Inputs to the Creative Process: Preparation, Incubation, Illumination continued Product- or service-specific preplanning input. Gathering information through studies conducted by client on product or service and target audience. Demographic and psychographic profiles, focus groups. Problem detection: Asking consumers familiar with product to list aspects they do not like. Input for product improvements or new product development. Ideas regarding which features to emphasize. Guidelines for positioning brands. © McGraw Hill 70  Exhibit 8-7 The Interactive Advertising Bureau is a source of information for marketers using online advertising. © McGraw Hill Source: The Interactive Advertising Bureau 71  The Creative Process 7 Inputs to the Creative Process: Preparation, Incubation, Illumination continued Product- or service-specific research. continued Branding research: Helps gain better identify consumers and how they connect to brands. Y&R Group’s BrandAsset Valuator (BAV ). © McGraw Hill 72  Exhibit 8-8 Source: BAV Group, Inc. Y&R Group’s proprietary tool the BrandAsset Valuator (BAV ) uses four pillars: energized differentiation, relevance, esteem, and knowledge. These pillars identify core issues for the brand and evaluate current and future financial performance and potential. © McGraw Hill 73  The Creative Process 8 Inputs to the Creative Process: Preparation, Incubation, Illumination continued Qualitative research input. Provides valuable insight at early stages of creative process. Focus groups: Consumers from target market are led through a discussion regarding a topic. Insights from focus groups: Who target audience is. Who creatives need to write, design, or direct to. Which creative approach to use. Critics believe testing can weaken creative execution and interferes with creative process. © McGraw Hill 74  Exhibit 8-10 The Aflac duck did not test well in focus groups, but the company continued anyway. This creative award- winning campaign has been very successful for Aflac. © McGraw Hill Source: Aflac Incorporated 75  The Creative Process 9 Inputs to the Creative Process: Preparation, Incubation, Illumination continued Qualitative research input. continued Ethnographic research: Observing consumers in their natural environment. Researchers prefer it over focus groups to eliminate undue influences. Expensive to conduct and difficult to administer. © McGraw Hill 76  The Creative Process 10 Inputs to the Creative Process: Preparation, Incubation, Illumination continued Qualitative research input. continued The Advertising Research Foundation initiated the David Ogilvy Awards. The “As Real as It Tastes” campaign for Michelob ULTRA Organic Seltzer won a David Ogilvy Award for an IMC campaign based on consumer research. © McGraw Hill Source: Anheuser-Busch Companies, LLC 77  The Creative Process 11 Inputs to the Creative Process: Verification, Revision Process: Evaluate ideas. Reject the inappropriate ideas. Refine the remaining ideas. Give ideas final expression. Techniques: Directed focus groups. Message communication studies. Portfolio tests. Evaluation measures, such as viewer reaction profiles. © McGraw Hill 78  The Creative Process 12 Inputs to the Creative Process: Verification, Revision continued Storyboard: Series of drawings that present a proposed commercial’s visual layout. Animatic: Videotape of storyboard along with audio soundtrack. © McGraw Hill 79  Exhibit 8-12 Marketers can gain insight into consumers’ reactions to a commercial by showing them a storyboard or an animatic such as this storyboard for “Splash of Life”. © McGraw Hill Source: Courtesy of The Lambesis Agency 80  Creative Strategy Development 1 Advertising Campaign Set of interrelated, coordinated marketing communications activities that center on a single theme or idea. Appear in different media across specified time period. Campaign theme: Central message communicated in all advertising and promotional activities. Expressed through a slogan or tagline. Summation line that briefly expresses company or brand’s positioning and the message it is trying to deliver to the target audience. © McGraw Hill 81  Creative Strategy Development 2 Advertising Campaigns continued Creating effective slogans: Should be simple, catchy, and predictable. Should connect with consumers emotionally. Many companies are not using them. Campaign themes: Attempt to develop campaign themes that last many years. Guided by specific goals and objectives. Creative strategy statement is outlined in copy or creative platform. Try to connect with consumer values and personalities. © McGraw Hill 82  Exhibit 8-13 Guidelines for Advertising Slogans © McGraw Hill Kumail Hemani 83  Figure 8-2 Examples of Effective Advertising Slogans Company or Brand Slogan 1. Toyota Let’s Go Places 2. Home Depot How Doers Get More Done 3. Amazon Spend Less. Smile More 4. McDonald’s I’m Lovin’ It! 5. Sony PlayStation Play Has No Limits 6. Walmart Save Money. Live Better. 7. Bounty The Quicker Picker-Upper 8. AirBnB Belong Anywhere 9. Capital One What’s In Your Wallet? 10. Dunkin America Runs on Dunkin © McGraw Hill 84  Creative Strategy Development 3 Creative Brief Document that specifies key elements of the creative strategy and serves as basis for communication between client and advertising agency. Association of National Advertisers (ANA) provides guidelines for developing effective briefs. Two-step process: Client creates assignment brief and then ad agency develops creative brief. One collaborative brief: Client takes lead and develops brief with ad agency. Often gaps in information. © McGraw Hill 85  Figure 8-3 Key Elements of a Creative Brief 1. Basic problem or issue the communication must address or solve. 2. Communication objectives. 3. Target audience. 4. Insights to drive creative work. 5. Key benefits or major selling idea to communicate. 6. Reason to believe/supporting information. 7. Tone and manner/brand personality. 8. Deliverables (what is needed and when). 9. Measures of success (should be tied back to objectives). © McGraw Hill 86  Creative Strategy Development 4 The Search for the Major Selling Idea Major selling idea: Strongest singular thing company can say about its product or service. Has the broadest and most meaningful appeal to target audience. Basis of many creative, successful advertising campaigns. The Man Your Man Could Smell Like campaign for Old Spice is one of the best campaigns of the new millennium. What is Old Spice's major selling idea in this campaign? © McGraw Hill Source: Old Spice by Procter & Gamble 87  Creative Strategy Development 5 Developing the Major Selling Idea Most creative ideas try to dramatically and effectively convey the key benefit claim. Approaches: Using a unique selling proposition. Creating a brand image. Finding the inherent drama. Positioning. © McGraw Hill 88  Creative Strategy Development 6 Developing the Major Selling Idea continued Unique Selling Proposition (USP). Each advertisement must say to each reader: “Buy this product and you will get this benefit.” Competition either cannot or does not offer. It must be unique in brand or in the claim. Must be strong enough to pull over new customers to the brand. Advertisers must consider whether USP provides a sustainable competitive advantage. © McGraw Hill 89  Exhibit 8-16 This ad for ThermaCare uses a unique selling proposition by describing what makes the product different. © McGraw Hill Source: ThermaCare 90  Creative Strategy Development 7 Developing the Major Selling Idea continued Creating a brand image: Image advertising: Strategy used to develop strong, memorable identity for a brand. To be successful: Associate brand with symbols or artifacts that have cultural meaning. Use visual appeals that convey psychosocial associations and feelings. © McGraw Hill 91  Creative Strategy Development 8 Developing the Major Selling Idea continued Finding the inherent drama. Characteristic of a product that makes consumers purchase it. Advertising should: Be based on foundation of consumer benefits. The “Time We Have Left” Emphasize the dramatic campaign for Ruavieja liqueur element in expressing those used an inherent drama benefits. approach for the big idea. © McGraw Hill Source: Licores Ruavieja 92  Creative Strategy Development 9 Developing the Major Selling Idea continued Positioning: Establishes product or service in a particular place in consumer’s mind. Done on basis of distinctive attributes. Basis of firm’s creative strategy when it has multiple brands competing in same market. Subway used the “Eat Fresh Refresh” campaign to reposition the sandwich chain around freshness. © McGraw Hill Source: Subway IP LLC 93  Creative Strategy Development 10 Contemporary Approaches to the Big Idea Many creative styles and strategies are available. Big ideas must: Capture consumer attention. Differentiate the brand. Be adaptable to be used across various media. Engage consumers and enter into a dialogue with them. © McGraw Hill 94  Appeals and Execution Styles 1 Appeals and Styles Advertising appeal: Approach used to attract consumers’ attention and/or influence their feelings toward product, service, or cause. Creative execution style: Manner in which appeal is turned into advertising message presented to consumer. © McGraw Hill 95  Appeals and Execution Styles 2 Advertising Appeals Informational/rational appeals: Focus on consumer’s practical, functional, or utilitarian need for a product or service. Emphasize facts, learning, and logic of persuasion. Tend to be informative. Examples: Comfort, convenience, economy, health. Touch, taste, smell. Quality, dependability, durability, efficiency, efficacy, performance. © McGraw Hill 96  Exhibit 9-1 This rational appeal for the Honda Pilot SUV focuses on its advanced technological features and dependability. © McGraw Hill Source: American Honda Motor Co., Inc. 97  Appeals and Execution Styles 3 Advertising Appeals continued Informational/rational appeals: continued Feature appeal: Focuses on dominant traits of product or service. Often used by technical and high-involvement products. Shows how product attributes benefit consumer. Competitive advantage appeal: Compares product to another brand and claims superiority on one or more attributes. © McGraw Hill 98  Appeals and Execution Styles 4 Advertising Appeals continued Informational/rational appeals: continued Favorable price appeal: Makes price offer the dominant point of the message. Announces sales, special offers, or low everyday prices. Southwest Airlines uses a variation of a price appeal in its “Wanna Get Away Plus” fare option campaign. This new option adds more flexibility, options, and rewards to the carrier’s fare lineup. © McGraw Hill Source: Southwest Airlines Co. 99  Appeals and Execution Styles 5 Advertising Appeals continued Informational/rational appeals: continued News appeal: Involves news about a product, service, or company. Product/service popularity appeal: Stresses the popularity of product or service by pointing out: Number of consumers who use brand or those who have switched to it. Number of experts who recommend the brand. Leadership position in the market. © McGraw Hill 100  Appeals and Execution Styles 6 Advertising Appeals continued Emotional appeals: Relate to customers’ social and psychological needs for purchasing product or service. Advertisers believe these work better at selling brands that don’t differ from competing brands. © McGraw Hill 101  Figure 9-1 Bases for Emotional Appeals Personal States or Personal States or Social-Based Feelings Feelings Feelings Safety Arousal/stimulation Recognition Security Sorrow/grief Status Fear Pride Respect Love Achievement/accomplishment Involvement Affection Self-esteem Embarrassment Happiness Actualization Affiliation/belonging Joy Pleasure Rejection Nostalgia Ambition Acceptance Sentiment Comfort Approval Excitement © McGraw Hill 102  Appeals and Execution Styles 7 Advertising Appeals continued Emotional appeals: continued Emotional integration: Characters in ad experience emotional benefit or outcome from using product or service. Advantages of emotional-only campaigns: Twice as likely to generate large profit gains than rational content. More effective than campaigns using emotional and rational content. Reduce price sensitivity and strengthen ability of brands to charge a price premium. Work well during economic downturns. © McGraw Hill 103  Appeals and Execution Styles 8 Advertising Appeals continued Emotional appeals: continued Transformational ad: Associates experience of using the advertised brand with a unique set of psychological characteristics. Characteristics of transformational ads: Make experience of using the product richer, warner, more exciting, and/or more enjoyable. Connect experience of the advertisement with experience of using the brand. © McGraw Hill 104  Exhibit 9-7 Vrbo uses transformational advertising as part of the “Only Your People” campaign, which focuses on enjoying a vacation home with friends and family. © McGraw Hill Source: Vrbo 105  Appeals and Execution Styles 9 Advertising Appeals continued Combining rational and emotional appeals. Few advertisers rely on just one type of appeal. Need to determine how best to combine the two approaches. Consumer purchase decisions are often made on basis of both emotional and rational motives. Subaru’s “Share the Love” campaign ties together the attributes of the product with the emotions of the consumer. This campaign has helped the company achieve record sales for 13 consecutive years. © McGraw Hill Source: Subaru of America, Inc. 106  Appeals and Execution Styles 10 Advertising Appeals continued Additional types of appeals. Reminder advertising: Builds brand awareness and/or helps keep brand name in front of consumers. Often used in online advertising. Mere exposure effect: Repeated exposure can enhance familiarity and generate positive feelings. © McGraw Hill 107  Exhibit 9-7 This clever reminder ad reminds people to keep Tic Tac breath mints handy. © McGraw Hill tic tac 108  Appeals and Execution Styles 11 Advertising Appeals continued Additional types of appeals. Teaser advertising: Builds curiosity, interest, and/or excitement about product or brand by talking about it but not actually showing it. Often used for product launches to generate interest and publicity. This teaser ad by Havenly was part of an email campaign by this online interior design and decorating service. © McGraw Hill Source: Havenly Inc. 109  Appeals and Execution Styles 12 Advertising Appeals continued Additional types of appeals. User-generated content (UGC): Created by consumers rather than by company and/or agency. Contests, crowdsourcing, social media. Airbnb’s “Made Possible By Hosts” campaign effectively demonstrates user-generated content. © McGraw Hill Source: Airbnb, Inc. 110  Appeals and Execution Styles 13 Advertising Execution Creative execution: the way an advertising appeal is presented. Straight-sell or factual message: Relies on straightforward presentation of information concerning the product or service. Used with informational/rational appeals. Commonly used in print ads. Scientific/technical evidence: Technical/scientific information used to support advertising claims. © McGraw Hill 111  Exhibit 9-10 This ad for ELVIVE Total Repair 5 uses a straight sell execution because the copy discusses how use of the product can help repair damaged hair. © McGraw Hill Source: L’Oreal International 112  Appeals and Execution Styles 14 Advertising Execution continued Demonstration: Illustrates key advantages of the product by showing its actual use. Effective in convincing consumers of product’s utility, quality, and benefits. Comparison: Shows brand’s particular advantage over its competitors. Helps position new or lesser-known brands with industry leaders. © McGraw Hill 113  Appeals and Execution Styles 15 Advertising Execution continued Testimonial: Messages presented by person who elaborates on personal experience with product. Endorsement—A well-known or respected individual speaks on behalf of company or brand. Jenny Craig uses testimonials featuring social influencer Brittany Cartwright to promote its new Max Up weight-loss program. © McGraw Hill Source: Jenny Craig, Inc. 114  Appeals and Execution Styles 16 Advertising Execution continued Slice of life: Portrays a problem or conflict consumers might face in daily lives. Based on a problem–solution approach. Used for both consumer marketing and business-to-business. Slice-of-death advertising—Focuses on negative consequences that result when wrong decisions are made. Also used in humor appeals. Expensive to produce/require large ad budget. © McGraw Hill 115  Exhibit 9-14 Amazon’s slice-of-life ad used humor for its popular “Mind Reader” commercial for the Alexa voice assistant. © McGraw Hill Source: Amazon.com, Inc. 116  Appeals and Execution Styles 17 Advertising Execution continued Animation: Uses animated scenes or characters in advertisements. Especially popular for ads aimed at children. Personality symbol: Central character that delivers the advertising message. Helps consumers identify a company/brand. Chipotle uses computer animation in this ad that supports sustainable farming practices with the tagline “A Future Begins.” © McGraw Hill Source: Chipotle Mexican Grill, Inc. 117  Figure 9-2 Ratings of Insurance Company Ad Characters Commpany/Character Awareness Level Favorability Ratng GEICO/Gecko 98% 75% Progressive/Flo 95 66 Aflac/Duck 92 66 Progressive/Jamie 87 52 Liberty Mutual/Limu Emu 84 54 and Doug State Farm/Jake 83 69 Allstate/Mayhem 79 67 Farmers/Professor Burke 76 67 Progressive/Dr. Rick 59 54 © McGraw Hill 118  Appeals and Execution Styles 18 Advertising Execution continued Imagery: Consists of visual elements rather than information. Encourages buyers to associate brand with symbols, characters, or situation. Usage imagery shows how a brand is used or performs and the situation in which it is used. Advertising for Yes To creates a fun and irreverent image for the brand. This ad, showing how enjoyable their charcoal masks products are, breaks through standard conventions of natural skin care. © McGraw Hill Source: YESTO, Inc. 119  Appeals and Execution Styles 19 Advertising Execution continued Dramatization: Focuses on telling a short story with the product or service as the star. Problem–solution approach but uses more excitement and suspense. Five basic steps: Exposition. Conflict. Increase in action, conflict, and suspense. Climax. Resolution. © McGraw Hill 120  Appeals and Execution Styles 20 Advertising Execution continued Humor: Used to present various advertising appeals. Well-suited to television and radio. Effectiveness depends on the concept and the execution. Combinations: Using various execution techniques to create a message. © McGraw Hill 121  Creative Tactics 1 Creative Tactics for Print Advertising Headlines: Words in the leading position of the ad that are read first. Attract readers’ attention and interest them in rest of the message. Types: Direct headlines: Straightforward and informative. Indirect headlines: Not straightforward about identifying product or service or getting to the point. Often more effective at attracting the readers’ attention. © McGraw Hill 122  Headlines The headline of this Pedialyte Sport ad is designed to attract the attention of cyclists. This ad for DePaul University uses an indirect headline that creates curiosity and encourages people to read the body copy. © McGraw Hill Source: Abbott Laboratories Co. and DePaul University 123  Creative Tactics 2 Creative Tactics for Print Advertising Headlines: continued Subheads: Secondary heads in print ad. Reinforce headline and advertising slogan or theme. Enhance readability by breaking up large amounts of text and highlighting key sales points. Body copy: Main text portion of print ad. Heart of the message. Long enough to communicate the message but short enough to hold consumer attention. © McGraw Hill 124  Creative Tactics 3 Creative Tactics for Print Advertising continued Visual elements: Dominant part of print ad. The image must: Attract attention. Communicate idea or image. Work synergistically with headline and body copy. Layout: Physical arrangement of various parts of the ad. © McGraw Hill 125  Exhibit 9-23 This ad uses a clever visual image to remind people that McDonald’s offers free Wi-Fi. © McGraw Hill Source: McDonald’s Corporation 126  Creative Tactics 4 Creative Tactics for Television Video: Visual elements that attract viewers’ attention and communicate an idea, message, and/or image. Audio: Includes voices, music, and sound effects. Voiceover: Message delivered by an announcer who is not visible. Sometimes use celebrities. Needledrop: Music that is prefabricated, multipurpose, and highly conventional. © McGraw Hill 127  Creative Tactics 5 Creative Tactics for Television continued Audio: continued Music in ads helps get attention, break through advertising clutter, communicate key selling points, establish an image or position, or add feeling. Licensing music: Musical composition. Master recording—very expensive. Jingles: Catchy songs about product or service that carry the advertising theme and a simple message. Audio logo: A sound, an effect, a short music clip, a musical riff, or a voiceover. © McGraw Hill 128  Exhibit 9-25 Google licensed the master recording of The Beatles song “Help!” for its “Here to Help” campaign. © McGraw Hill Denys Prykhodov/Shutterstock 129  Creative Tactics 6 Creative Tactics for Television continued Planning and production of TV commercials. Ideal for both rational and emotional appeals. Ideal for straight sell or announcement, demonstration, testimonial, and comparison. Commercials most successful when they entertain and inform. Producing high-quality TV commercials incurs high costs. Actor residuals. Production costs. © McGraw Hill 130  Creative Tactics 7 Creative Tactics for Television continued Planning and production of TV commercials. continued Planning the commercial. Script: Written version of commercial that provides detailed description of its video and audio content. Writer and art director produce and get approval for storyboard. Production. Preproduction. Production. Postproduction. © McGraw Hill 131  Figure 9-4 The Three Phases of Production for Commercials Access the text alternative for slide images. © McGraw Hill 132  Creative Tactics 8 Creative Tactics for Online Advertising Role of digital ads. Concept ads drive top-of-the-funnel goals such as awareness and interest. Content ads have mid-funnel goal of enhancing consumers’ knowledge or understanding of product or service. Native advertising: Paid placement designed to fit seamlessly into the content that surrounds it. Commerce ads have bottom-of-the-funnel goal of getting consumers to take action and make a purchase. © McGraw Hill 133  Creative Tactics 9 Creative Tactics for Online Advertising continued Role of digital ads. continued Display ads: Many different formats. Domination of banner ads, but new formats are being developed. Interactive Adverting Bureau (IAB) developed a range of Cox Media provides examples of various online display ad best practices. display ad formats. Access the text alternative for slide images. © McGraw Hill Source: Cox Media, LLC 134  Creative Tactics 10 Creative Tactics for Online Advertising continued Role of digital ads. continued Online video: Growing rapidly across all platforms. Variety of formats and placements. Pre-roll, mid-roll, and post-roll. Similar creative decisions as TV but must consider intrusiveness, length, and content. © McGraw Hill 135  Exhibit 9-29 The Interactive Advertising Bureau developed the “New Ad Portfolio” guidelines for various forms of online advertising. © McGraw Hill Source: IAB 136